Forum Theatre, Malvern – 9th December 2023
Reviewed by Courie Amado Juneau
4****
Armonico Consort brought two versions of a Baroque continental Christmas to Malvern.
The first half was an Italianate Christmas celebration of diverse works by Claudio Monteverdi and Giovanni Gabrieli. Director (also conductor) Christopher Monks regaled us with a witty introduction regarding what to expect, including some interesting background about the choices of pieces that would make up tonight’s programme.
It was very interesting to hear the instrumental ensemble (the “Baroque Players”) with their wonderful sounding organ – an instrument that I always love to hear in any musical setting – and string quartet. I’m presuming they were using period instruments and bows with gut strings (or modern recreations of the same) since the sound was more mellow than their modern, brasher equivalents. The same mellow sound was produced by the 2 cornetts, 3 sackbuts and dulcian of The English Cornett & Sackbut Ensemble. A very exotic sound from the assembled orchestra.
The musical entertainment began with a solo voice, ushering in more singers and instruments before the full force of the assembled (largish) choir and orchestra took over. This type of Baroque music is rich in harmonic invention and multiple interweaving vocal lines of dazzling complexity. Baroque choral music is not my natural home and at times I did find the density a tad impenetrable. Many in the audience seemed much more au fait with this genre than I was and thoroughly appreciated the music produced; so it is obvious that the musicians had represented the music faithfully and with distinction. The second half was the Germanic Christmas setting, gathering together works by Michael Praetorius. I preferred this half of the concert to the first as it seemed simpler (less dense) – despite the fact that the last piece “In Dulci Jubilo” was in 21 parts! Beautiful and challenging in equal measure I felt.
Although I wasn’t convinced that we gained much by all the musicians moving around the stage and auditorium (often delivering their parts from among the crowd, behind our sitting position) it was interesting to hear what must be the first “surround sound” in history. I also found the text very difficult to follow, despite having a programme, due to the complexity of the music and the fact that I don’t speak Latin. I therefore found it impossible to know which bit of music was being performed at any given moment. This wouldn’t have been in issue in the music’s original context (church Christmas celebrations) but I did find that my attention was often diverted whilst I attempted to work out where we were or which composer I was currently listening to.
Despite these minor points, the musicianship was beyond question and it was most certainly a popular set of compositions (and composers) judging by the very appreciative reaction from the well packed auditorium. I’m looking forward to the Consort’s return in February for the world premiere of Scarlatti’s “Daniele” and a work I do know – Handel’s “Dixit Dominus”.